After all these days, I finally went to Innovative Multiplex. And btw, impressed by this service too : iTicket.in
Coming to the movie, it is as tender and as powerful it can get. Shot beautifully in Himachal Pradesh and most of it in Rajastan, this movie is how a meaningful cinema should be – it is not void of entertainment, but it is in small touches by a character created for only that purpose – tells a story, gives a message – in very small details again – and most important of all, it works.
Zeenat is played by Gul Panag and Meera is played by Ayesha Takia. Both the ladies look like apt choices for the role, with Gul carrying off it with such ease that I wonder where was she all these days. She looks like an ideal replacement for Tabu (( only an other person who could have done this role and btw where is Tabu)) having both beauty and talent to match. Ayesha’s acting is also just right.
And there is Shreyas Talpade, whose is the character I mentioned above, who ensures that we dont get all that weepy and lumpy-in-the-throat. His role is responsible for the few refreshing laughs but yet in some ways stays with us. Probably for that just one scene – “ek mahtva poorn baat kehni thi”. Not to say that other scenes were any bad.
The dialogues were all intense like when Meera says “Keh doongi bhajan sun rahi thi, ab naatak shuru hoga” and puts on her veil. When Zeenat says something on the lines -“Who laughs and dances with her friends when she knows her husband is on the doorstep of death”. One more I can remember is something on the lines of “society is as merciless as heat of Sun”. There are moments as well, like when Meera dances in the lane, very cautiously fearing if the society observes that act of a widow. When all of them dance to their hearts content in the midst of the desert. Two scenes, my most favorite, are
1) the ritual when Meera is de-bangled.
2) “Ek mehtva poorna bhaat kehni thi” Given the background, this was supposed to be just funny. But it wasn’t, and that we come know only later.
Messages thrown here and there about liberation of women or even about girl infanticide is so below the surface, but it hits the target.
Such dialogues and moments, not completely breaking away from our melodramatic style, yet not exaggarating it or not highlighting it, are at the heart of the movie which also succeeds in its primary motive – that of telling a story and that too in grand colour and picturisation.
Nagesh Kukunoor, more power to you. If I recall Hyderabad Blues and such like, I can not imagine this is the same Kukunoor.